Careers360 Logo
Interested in this College?
Get updates on Eligibility, Admission, Placements Fees Structure
Compare

Quick Facts

Medium Of InstructionsMode Of LearningMode Of Delivery
EnglishSelf StudyVideo and Text Based

Courses and Certificate Fees

Fees InformationsCertificate AvailabilityCertificate Providing Authority
INR 2436yesCoursera

The Syllabus

Videos
  • Welcome to Modern American Poetry!
Readings
  • Syllabus
  • How to Pass This Class
  • About the Discussion Forums
  • Social Media
  • Getting to Know Your Classmates
Practice Exercise
  • Orientation Quiz

Videos
  • Modern American Poetry, 1899-1950 (Part 1)
  • Modern American Poetry, 1899-1950 (Part 2)
  • Modern American Poetry, 1899-1950 (Part 3)
  • Modern American Poetry, 1899-1950 (Part 4)
  • Modern American Poetry, 1899-1950 (Part 5)
  • Modern American Poetry, 1899-1950 (Part 6)
  • Modern American Poetry, 1899-1950 (Part 7)
  • Modern American Poetry, 1899-1950 (Part 8)
  • Modern American Poetry, 1899-1950 (Part 9)
  • Modern American Poetry, 1899-1950 (Part 10)
  • Modern American Poetry, 1899-1950 (Part 11)
  • Walt Whitman and Emily Dickinson: 'A Strange, Uncoupled Couple' (Part 1)
  • Walt Whitman and Emily Dickinson: 'A Strange, Uncoupled Couple' (Part 2)
  • Walt Whitman and Emily Dickinson: 'A Strange, Uncoupled Couple' (Part 3)
  • Walt Whitman and Emily Dickinson: 'A Strange, Uncoupled Couple' (Part 4)
  • Native American Poetry from the 1890s to 1930 (Part 1)
  • Native American Poetry from the 1890s to 1930 (Part 2)
  • Hart Crane's The Bridge (Part 1)
  • Hart Crane's The Bridge (Part 2)
  • Hart Crane's The Bridge (Part 3)
  • Hart Crane's The Bridge (Part 4)
  • Hart Crane's The Bridge (Part 5)
Readings
  • Module 1 Information
  • 1.1 Recommended Reading
  • 1.2 Recommended Reading
  • 1.3 Recommended Reading
  • 1.4 Recommended Reading
Practice Exercise
  • 1.1 Modern American Poetry, 1899-1950
  • 1.2 Walt Whitman and Emily Dickinson: 'A Strange, Uncoupled Couple'
  • 1.3 Native American Poetry from the 1890s to 1930
  • 1.4 Hart Crane's The Bridge

Videos
  • Modernist Women's Poetry and the Sentimental Tradition (Part 1)
  • Modernist Women's Poetry and the Sentimental Tradition (Part 2)
  • Modernist Women's Poetry and the Sentimental Tradition (Part 3)
  • Modernist Women's Poetry and the Sentimental Tradition (Part 4)
  • Modernist Women's Poetry and the Sentimental Tradition (Part 5)
  • Modernist Women's Poetry and the Sentimental Tradition (Part 6)
  • Marianne Moore: Syllabics (Part 1)
  • Marianne Moore: Syllabics (Part 2)
  • Marianne Moore: Syllabics (Part 3)
  • Marianne Moore: Syllabics (Part 4)
  • Marianne Moore: Syllabics (Part 5)
  • Women's Poetry, Modernism, and Classical Myth (Part 1)
  • Women's Poetry, Modernism, and Classical Myth (Part 2)
  • Women's Poetry, Modernism, and Classical Myth (Part 3)
  • Women's Poetry, Modernism, and Classical Myth (Part 4)
  • Women's Poetry, Modernism, and Classical Myth (Part 5)
  • 'A Cessation of Resemblances': Stein / Picasso / Duchamp (Part 1)
  • 'A Cessation of Resemblances': Stein / Picasso / Duchamp (Part 2)
  • 'A Cessation of Resemblances': Stein / Picasso / Duchamp (Part 3)
Readings
  • Module 2 Information
  • 2.1 Recommended Reading
  • 2.2 Recommended Reading
  • 2.3 Recommended Reading
  • 2.4 Recommended Reading
Practice Exercise
  • 2.1 Modernist Women’s Poetry and the Sentimental Tradition
  • 2.2 Marianne Moore: Syllabics
  • 2.3 Women’s Poetry, Modernism, and Classical Myth

Videos
  • Rethinking High Modernism (Part 1)
  • Rethinking High Modernism (Part 2)
  • Rethinking High Modernism (Part 3)
  • Rethinking High Modernism (Part 4)
  • Rethinking High Modernism (Part 5)
  • "Tomorrow . . . who knows?": The Futures of Harlem Renaissance Poetry (Part 1)
  • "Tomorrow . . . who knows?": The Futures of Harlem Renaissance Poetry (Part 2)
  • "Tomorrow . . . who knows?": The Futures of Harlem Renaissance Poetry (Part 3)
  • "Tomorrow . . . who knows?": The Futures of Harlem Renaissance Poetry (Part 4)
  • The Political 1930s (Part 1)
  • The Political 1930s (Part 2)
  • The Political 1930s (Part 3)
  • The Political 1930s (Part 4)
  • The Political 1930s (Part 5)
  • Tradition and the Folk in Sterling Brown's Poetry (Part 1)
  • Tradition and the Folk in Sterling Brown's Poetry (Part 2)
Readings
  • Module 3 Information
  • 3.1 Recommended Reading
  • 3.2 Recommended Reading
  • 3.3 Recommended Reading
  • 3.4 Recommended Reading
Practice Exercise
  • 3.1 Rethinking High Modernism
  • 3.2 “Tomorrow . . . who knows?”: The Futures of Harlem Renaissance Poetry
  • 3.3 The Political 1930s
  • 3.4 Tradition and the Folk in Sterling Brown's Poetry

Videos
  • Developing the Cultural Epic: From Eliot’s Cultural Elegy to Rukeyser’s Documentary Testament (Part 1)
  • Developing the Cultural Epic: Eliot and Crane: Expanding the Terrain of the Modernist Epic (Part 2)
  • Developing the Cultural Epic: "The Tunnel": Contesting Eliot (Part 3)
  • Developing the Cultural Epic: Muriel Rukeyser's Theory of Flight (Part 4)
  • Developing the Cultural Epic: Muriel Rukeyser's Documentary Testament (Part 5)
  • The Image of the City in Pre-war Poetry (Part 1)
  • The Image of the City in Pre-war Poetry (Part 2)
  • The Image of the City in Pre-war Poetry (Part 3)
  • Little Magazines (Part 1)
  • Little Magazines (Part 2)
  • Little Magazines (Part 3)
  • Introduction
  • Emily Dickinson's "We Learned the Whole of Love"
  • Wallace Stevens's "Large Red Man Reading"
  • Harryette Mullen's "Sleeping with the Dictionary"
Readings
  • Module 4 Information
  • 4.1 Recommended Reading
  • 4.2 Recommended Reading
  • 4.3 Recommended Reading
  • 4.4 Recommended Reading
  • The Symposium Overview
  • The Symposium: Additional Information for Video Submissions
Practice Exercise
  • 4.1 Developing the Cultural Epic Quiz
  • 4.2 The Image of the City in Pre-War Poetry
  • 4.3 Little Magazines

Articles

Back to top